Public Narrative Participant Guide

Originally adapted from the works of Marshall Ganz of Harvard University

http://www.hks.harvard.edu/about/faculty-staff-directory/marshall-ganz

Modified for this training by Serena Zhang & Voop de Vulpillieres

yuanrui.zhang@college.harvard.edu, voop@post.harvard.edu
 ACKNOWLEDGEMENTS

This workshop guide has been developed over the course of many trainings by Liz
Pallatto, Joy Cushman, Jake Waxman, Kate Hilton, Tiffany Steinwert, Devon Anderson
and many others.

We welcome your suggestions for improving this guide further for future trainings. We
also welcome you to use it and adapt it for your own trainings, subject to the
restrictions below.

RESTRICTIONS OF USE
The following work [this workshop guide] is provided to you pursuant to the following
terms and conditions. Your acceptance of the work constitutes your acceptance of
these terms:

 You may reproduce and distribute the work to others for free, but you may not
sell the work to others.
 You may not remove the legends from the work that provide attribution as to
source (i.e., “originally adapted from the works of Marshall Ganz of Harvard
University and modified by Michele Rudy’)
 You may modify the work, provided that the attribution legends remain on the
work, and provided further that you send any significant modifications or
updates to marshall_ganz@harvard.edu or Marshall Ganz, Hauser Center,
Harvard Kennedy School, 79 JFK Street, Cambridge, MA 02138
 You hereby grant an irrevocable, royalty-free license to Marshall Ganz, and his
successors, heirs, licensees and assigns, to reproduce, distribute and modify the
work as modified by you.
 You shall include a copy of these restrictions with all copies of the work that you
distribute and you shall inform everyone to whom you distribute the work that
they are subject to the restrictions and obligations set forth herein.

If you have any questions about these terms, please contact Marshall Ganz, Hauser
Center, Harvard Kennedy School, 79 JFK Street, Cambridge, MA 02138,
marshall_ganz@harvard.edu.
 WHY WE’RE HERE

PUBLIC NARRATIVE
& STORY OF SELF
Our Campaign Story, Strategy & Structure
 INTRODUCTION TO PUBLIC NARRATIVE

Goals for this session:

* To learn the basics of how public narrative works: values, emotion & story structure
* Each participant practices, receives feedback on his/her story of self, and learns to
coach others

Public narrative as a practice of leadership

Leadership is about accepting responsibility for enabling others to achieve purpose in

the face of uncertainty. Narrative is how we learn to make choices and construct our
identities – as individuals, as communities, as nations.

Each of us has a compelling story to tell

Each of us has a story that can move others to action. As you learn this skill, you will be
learning to tell a compelling story about yourself, your constituency, and the need for
urgent – and hopeful – action. In addition, you will gain practice in listening, and
coaching others to tell a good story.

Why Use Public Narrative? Two Ways of Knowing (And we need both!)

Public leadership requires the use of both the “head” and the “heart” to mobilize others
to act effectively on behalf of shared values. It engages people in interpreting why they
should change the world – their motivation – and how they can act to change it – their
strategy. Public narrative is the “why” – the art of translating values into action through
stories.

strategy narrative
head heart
ion story te
l reflect e of expe lling
critica rienc rience
on expe

HOW WHY
IVE AFFEC
COGNIT TIVE
PATHO
LOGOS S
SIS MOTIV
ANALY ATION

shared
understanding
leads to

action
hands

Two Kinds of Knowing

Originally adapted from the works of Marshall Ganz, Harvard University
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The key to motivation is understanding that values inspire action through emotion.

Emotions inform us of what we value in ourselves, in others, and in the world, and
enable us to express the motivational content of our values to others. Stories draw on
our emotions and show our values in action, helping us feel what matters, rather than
just thinking about or telling others what matters. Because stories allow us to express
our values not as abstract principles, but as lived experience, they have the power to
move others.

Some emotions inhibit action, but other emotions facilitate action.

The language of emotion is the language of movement—they actually share the same
root word. Action is inhibited by inertia, fear, self-doubt, isolation, and apathy. Action is
facilitated by urgency, hope, YCMAD (you can make a difference), solidarity, and anger.
Stories mobilize emotions of action to overcome emotions that inhibit us from action.

Originally adapted from the works of Marshall Ganz, Harvard University

5
The Three Key Elements of Public Narrative Structure
Challenge – Choice – Outcome

A plot begins with an unexpected challenge that confronts a character with an urgent
need to pay attention, to make a choice, a choice for which s/he is unprepared. The
choice yields an outcome – and the outcome teaches a moral.

Because we can empathetically identify with the character, we can “feel” the moral. We
not only hear “about” someone’s courage; we can also be inspired by it.

The story of the character and their effort to make choices encourages listeners to think
about their own values, and challenges, and inspires them with new ways of thinking
about how to make choices in their own lives.

character CHALLENGE plot

OUTCOME

CHOICE

moral

Narrative Structure

Originally adapted from the works of Marshall Ganz, Harvard University

6
Public narrative combines a story of self, a story of us, and a story of now.

story of story of

self PURPOSE
now
call to leadership strategy & action

CO

CY
M

N
M

GE
UN

UR
ITY
story of

us
shared values &
shared experience

Public Narrative

A “story of self” tells why you have been called to serve.

Every one of us has a compelling story to tell. We have all made choices that shaped our
life’s path—how to respond to challenges we faced as children, whether or not to take
leadership in our places of worship, our schools, where we found the hope to take risks,
etc.

The key focus is on choice points, moments in our lives when our values become real
when we have to choose in the face of uncertainty. When did you first care about being
heard, about concern with others, about abuses of power, about poverty? Why? When
did you feel you had to do something? Why did you feel you could? What were the
circumstances? The power in your story of self is to reveal something of yourself and
your values—not your deepest secrets, but the key shaping moments in your life. We all
have stories of pain, or we wouldn’t think the world needs changing. We all have stories
of hope, or we wouldn’t think we cold change it.

A “story of us” communicates why our community in particular is called to act, and
why we in particular have the capacity to lead.
Just as with your story of self, the key choice points in the life of the community are
those moments that express the values underlying the work your organization does.
The key is to focus on telling a story about specific people and specific moments of
choice or action that shaped your community. Tell a story that invites others to join you
in this community.

A “story of now” communicates the urgent challenge we are called upon to face now.
The story of now focuses on the challenge that requires action, the hope for that action,
and the choice we are calling upon others to make. In a story of now you call on others
to join you in action.
Originally adapted from the works of Marshall Ganz, Harvard University
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Incorporating Challenge, Choice, and Outcome in Your Own Story

There are some key questions you need to answer as you consider the choices you have
made in your life and the path you have taken that brought you to this point in time as a
leader. Once you identify aspecific choice point, perhaps your first true experience of
challenge, oan your choice to do something about it, dig deeper by answering the
following questions.

Challenge: Why did you feel it was a challenge? What was so challenging about it? Why
was it your challenge?

Choice: Why did you make the choice you did? Where did you get the courage (or not)?
Where did you get the hope (or not)? Did your parents or grandparents’ life stories
teach you in any way how to act in that moment? How did it feel?

Outcome: How did the outcome feel? Why did it feel that way? What did it teach you?
What do you want to teach us? How do you want us to feel?

A word about challenge. Sometimes people see the word challenge and think that they
need to describe the misfortunes of their lives. Keep in mind that a struggle might be
one of your own choosing – a high mountain you decided to climb as much as a valley
you managed to climb out of. Any number of things may have been a challenge to you
and be the source of a good story to inspire others.

Originally adapted from the works of Marshall Ganz, Harvard University

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 PRESENTATIONS AND FEEDBACK:
Public Narrative PRACTICE WORK

GOALS
 Practice telling your Story of Self and get good, constructive feedback
 Learn to coach others’ stories so they become better storytellers

AGENDA
TOTAL TIME: 35 min.
1. Review the agenda. Choose a timekeeper. 5 min.

2. Take some time as individuals to silently develop your Story 5 min.

Use the worksheet that follows.

3. Go around the group and tell your story one by one. Each person has 2 minutes to 25 min.
tell his/her story and 3 minutes for coaching from the group.

NOTE: You have 2 minutes to tell your story. Stick to this limit. Make sure the
timekeeper cuts you off. It encourages focus and ensures everyone has a chance.

Originally adapted from the works of Marshall Ganz, Harvard University

9
 WORKSHEET:
DEVELOPING YOUR STORY

What is the change you want to make in the world: your story of now?

Why are you called to make that change: what specific experiences have shaped
your story of self?

What personal story can you tell that will help others understand why you want to
make that change?

CHALLENGE: CHOICE: OUTCOME:

Originally adapted from the works of Marshall Ganz, Harvard University

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 WORKSHEET:
INSTRUCTIONS FOR SELF-FACILITATION

When listening to the stories of others, listen and pay attention to how the story resonates within
you. During the feedback portion, comment on the following:

Public Narrative #1
What connects with me? What would I like to know more about?
be specific: choices, feelings/values, images  focusing in: what details and moments do
you want to hear more about?

 bridging parts of the story: what gaps in the

story did you want to know about?

Public Narrative #2
What connects with me? What would I like to know more about?
be specific: choices, feelings/values, images  focusing in: what details and moments do
you want to hear more about?

 bridging parts of the story: what gaps in the

story did you want to know about?

Public Narrative #3
What connects with me? What would I like to know more about?
be specific: choices, feelings/values, images  focusing in: what details and moments do
you want to hear more about?

 bridging parts of the story: what gaps in the

story did you want to know about?

Public Narrative #4
What connects with me? What would I like to know more about?
 focusing in: what details and moments do
you want to hear more about?

 bridging parts of the story: what gaps in the

story did you want to know about?

Originally adapted from the works of Marshall Ganz, Harvard University

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Originally adapted from the works of Marshall Ganz, Harvard University
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